Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Guyana and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Halifax kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Martian to the grime kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Fire Engines. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
Heaven 17,
Larry & the Blue Notes,
The Jesus and Mary Chain,
Nick Fraelich,
Archie Shepp,
Jacob Miller,
Big Daddy Kane,
John Coltrane,
Camouflage,
The Doobie Brothers,
PIL,
James Chance & The Contortions,
Bobby Byrd,
Infiniti,
These Immortal Souls,
Theoretical Girls,
The Standells,
Babytalk,
Bobby Hutcherson,
Gong,
Negative Approach,
Wally Richardson,
Ultra Naté,
Nico,
Unwound,
Sun Ra Arkestra,
Byron Stingily,
Lucky Dragons,
The Pop Group,
Lou Reed,
The Beau Brummels,
Spandau Ballet,
Gil Scott Heron,
Amazonics,
Scientists,
Ten City,
Sight & Sound,
Oneida,
Au Pairs,
Charles Mingus,
Deepchord,
Soul II Soul,
Brothers Johnson,
Dual Sessions,
Mission of Burma,
Organ,
Kaleidoscope,
Underground Resistance,
Lebanon Hanover,
Groovy Waters,
Albert Ayler,
Moebius,
Graham Central Station,
Erasure,
Ultramagnetic MC's,
Mary Jane Girls,
Bang on a Can All-Stars,
The Associates,
Cal Tjader,
Kings Of Tomorrow,
Stereo Dub,
The Monks, The Monks, The Monks, The Monks.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.